黑料不打烊

James Benning, Paco Fernandez, Thomas Florschuetz, Kuno Gonschior, Mary Heilmann, Fran莽ois Morellet, Bruce Nauman, Fran莽ois Perrodin, G眉nter Umberg, Elisabeth Vary, Caroline von Grone, Peter Wegner The German idiom `aus heiterem Himmel` has a literally different meaning than the English `out of the blue` as the word `Himmel` signifies `sky` or `heaven` - however, this alluds to the colour `blue` and vice versa. Thus, they are quite close to each other. But the German version adds an important detail, which is conveyed in the word `heiter`, meaning not only bright and clear, but also carefree, cheerful, smiling...If something happens out of the blue, it stands in opposition to the happy state before. There is a rupture, sudden change, serious momentum. The saying signifies it in a slightly ironical and sometimes even bitter taste, and is thus used to express dramatic incidents. However, at the same time there remains the lighter version insofar as what comes out of a hopeful blue can also transmit something of precisely that so to speak blue hope: childlike naivety or creative simplicity. Both allude to the blue sky in a metaphorical sense as the sky`s endless space signifies ideas such as eternity, infinity, and mental openness - receptivity. Thus, the title `Out of the blue` gained a very special life on its own. Less in terms of its literal aspects, but rather in the sense of becoming open for unexpected happenings, senses, pictures or relations - a kind of freeness, a sort of expedition towards the yet unknown. A curator`s perspective is often dominated by all too clear concepts and bound to a long history of programatic concepts of art institutions. In consequence, there can be nothing more exciting for the gallery than an unexpected change of the curatorial perspective. This came to be the most refreshing, important experience. The exhibition refers to both the English as well as German literal meaning (Blue|Himmel), as well as to the idiomatic sense of `Out of the Blue` and `Aus heiterem Himmel`, which describes something either as extremely positiv|funny or rather negative|critical surprise. Slow motion James Benning, 13 Lakes, Film in research "It is perhaps because James Benning`s work is so resistant to neat categorisation that his films have rarely received the recognition they deserve. His work fuses elements of American structuralism, the narrative avant-garde and experimental documentary. A hugely helpful introduction to Benning`s filmmaking, the documentary established his painstaking method of visiting a space and experiencing, absorbing and evaluating its particular geography. Accompanying him during the making of his newest work 13 Lakes, we see the care and time with which he frames each shot, and the process of filming on 16mm and recording the sound on tape. We hear Benning articulate his filmmaking approach and method (鈥渓ooking and listening鈥�), while the camera observes him filming views of different lakes. Breathtaking wide shots of the American desert landscape reference but do not mimic or copy Benning`s work. It`s easy to understand why: once we see a 13 Lakes workprint shot of a vista, we realise that though the video shots look good, they are utterly eclipsed by the depth and tone captured by the film, particularly in the rippling sapphire of the water and chalky whiteness of the rocks. (...) With his mathematics background, his structuralism manifests in the invocation of rigorous compositional logic 鈥� the films of the California trilogy, for example, being composed of 35 shots of 2.5 minutes length 鈥� 鈥減ose questions鈥� and 鈥渟olve problems鈥�. Benning`s long takes therefore become understandable as an authorial strategy for the organisation of documentary materials and for interrogating the act of seeing. After several minutes of looking at a single shot, the effect on the viewer is powerful. The formal elegance of the compositions somehow becomes surreal over time, as we look into, instead of at,